While it's better late than never, here are some fine releases from 2011 that just never made it past my ears until recently. Connecticut artists have it going on!
Dave Hogan, Fun Box (DAVEHOGANMUSIC.COM)
Having become familiar with Dave Hogan through his session-work with Windsor, CT-based, The Grimm Generation, it was no surprise that Hogan’s ultra-rootsy, Americana-influenced solo work would be so confident, strident and decidedly ear-candy for a destitute, world-weary soul. Hogan’s songwriting and musical style bear resemblance to some contemporary titans of the same genre: Hayes Carl, Justin Townes Earl and the now pre-historic Uncle Tupelo.
Working within the same musical landscape — Hogan’s articulate, gritty, lyrically savvy tales of errant lovers and personal failures make for a heady brew of buoyant tunes.
The opening track, “Time Can Change,” is reminiscent of Uncle Tupelo’s nascent forays into the burgeoning early 90’s re-examination of Gram Parson’s country rock playground, but rather bit middle of the road. Hogan channel’s Uncle Tupelo’s Jay Farrar’s vocal mid-range so successfully at times, that it’s hard to distinguish the two.
While a bit maudlin, “Go Away,” conjures up a certain Pure Prairie League vibe, (which isn’t such a bad thing in world of crappy music — how often do you turn off “Aimee” these days while listening to terrestrial radio?).
The standout track, “Downbound Train,” is a chugging country-punk tune, brimming with youthful optimism and a cocky resoluteness as Hogan practically shouts, “I am Orpheus, natural born son,” and declare he’s a “different man made for different times,” raising the specter of the legendary Greek’s divine music which was rejected by his contemporaries.
While it’s impossible to please every musical purist, Dave Hogan, is certainly a major player in the new breed of regional Americana. He hasn’t carved out a decidedly Connecticut sound (if that is possible), but he’s created the foundation by which others can certainly follow his lead.
The Porno Years, V2 (WildCat Recording)
The problem with modern electronic music is that it is inscrutable. You can attempt to break down its components into discrete parts; and by all means, this genre of music has its origins and influences — but what can you divine by the person and their laptop creating the music?
Bop Tweedie is the impresario behind the Porno Years; part B-movie actor, part shaman, and decidedly the finger behind the keystrokes of this computer-based recording entity. Tweedie’s artistry lies in the natural soundscape realm of miniature melodies that comprise the larger symphony of dissonance, digital blips and polyphonic harmonies.
Tweedie simulates semi-imprecise renditions of personal images in the decidedly lyrical “Pictures of You Pictures of Me,” courtesy of The Grimm Generation’s Jason Krug intoning over a pulsating non-rhythm, “My screen-saver watches over me/ Cool blue water of a New England coast/Nude pictures of a hot blonde/Mixed with a measured precise picture of a water tower in Easthampton.” This beat poetic cheaply fills the sparse cinematic back-beat of The Porno Years oeuvre.
Elsewhere, Carmen Champagne (also of The Grimm Generation) talks filthy on “Stupid People Doing Evil Things,” a hauntingly syncopated tune best suited to ear phones (you don’t want your kid hearing this).
It’s a wonderful thing to hear this genre of music making its way out of Connecticut, and to be hyper-critical of its limits and short-comings would be tantamount to derailing the process by which it’s created.
Bop Tweedie plays the Meriden Daffodil Festival in Meriden, CT this spring with The Grimm Generation. Also check out, Bop Tweedie and the Days.
Daphne Lee Martin & Raise the Rent, Dig & Be Dug (The Telegraph Recording Company)
As record store owner, music label executive and frontwoman for the Americana roots music outfit, Daphne Lee Martin and Raise the Rent, Daphne Lee Martin wears many hats that thankfully revolve around her musical passions.
An extraordinary musical talent and impresario on the New London, CT scene, Martin’s star is rising. A favorite of the café scene, her material has resided squarely in a cabaret environ, but now Martin and her band have outgrown those confines and settled comfortably into rock clubs.
Martin’s latest release is a heady brew of countrypolitan, swing, New Orleans-style jazz and roots-lite. The music and the band are topnotch and the arrangements are stellar. Martin’s voice is a little bit thin, however, to match the gymnastics and energy of the material. That isn’t a deal breaker.
A happy codicil to this is “Saratoga Rain,” where Martin abandon’s her pretense and sings from the heart. A weeping, slide guitar confection in which Martin fully embraces the music to her advantage, she allows the nascent grittiness of the guitar chords to subsume her general stilted vocals.
“Let’s Stay In Bed All Day” is punchy, and equal to anything Dr. John might have conjured up in his voodoo lair. This horn-driven number has a classic standard feel which stays in your head for days.
The closing track, “Nostradamus” is a delightful surprise ending to what in general, is a fairly pleasant listening experience. This reviewer won’t give away the ending — but pay attention to it.
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